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完整後設資料紀錄
DC 欄位 | 值 | 語言 |
---|---|---|
dc.contributor.advisor | 王寶祥 | |
dc.contributor.author | Mei-Yin Pu | en |
dc.contributor.author | 蒲美吟 | zh_TW |
dc.date.accessioned | 2021-06-13T02:22:53Z | - |
dc.date.available | 2007-02-01 | |
dc.date.copyright | 2007-02-01 | |
dc.date.issued | 2007 | |
dc.date.submitted | 2007-01-29 | |
dc.identifier.citation | 參考文獻
一、引用書目 (一)英文部份 Adams, Lotta G. “Inferno: Intended Readers and Genre.” Strindberg and Genre. Ed. Michael Robinson. Norwich: Norvik, 1991. 220-28. Algulin, Ingemar. “The Literature of the Modern Breakthrough.” A History of Swedish Literature. Stockholm: Swedish Institute, 1989. 109-32. Anderson, George K. The legend of the Wandering Jew. Providence: Brown UP, 1965. Bark, Richard. “Strindberg’s Dream-Play Technique.” Strindberg’s Dramaturgy. Ed. Göram Stockenström. Minneapolis: U of Minnesota P, 1988. 98-106. Bellquist, John E. “On Myth and Myth-making in Strindberg.” Scandinavica 23.1(1984): 51-52. Brandell, Gunnar. Strindberg in Inferno. Trans. Barry Jacobs. Cambridge: Harvard UP, 1974. Campbell, Joseph. The Masks of God: Creative Mythology. New York: Viking, 1970. ---. The Masks of God: Occidental Mythology. New York: Viking, 1970. Carlson, Harry G. Introduction. Strindberg: Five Plays. By August Strindberg. Trans. Harry G. Carlson. Berkeley: U of California P, 1983. 1-13. ---. Out of Inferno: Strindberg’s Reawakening As an Artist. Seattle and London: U of Washington P, 1996. ---. Strindberg and the Poetry of Myth. California: U of California P, 1982. Dahlbäck, Kerstin. “Kristina and Strindberg’s Letters and Diary.” Scandinavian Studies 62.1 (1990): 108-15. Dahlström, Carl E. W. L. Strindberg’s Dramatic Expressionism. New York: Arno, 1980. De Man, Paul. “Autobiography As De-Facement.” The Rhetoric of Romanticism. New York: Columbia UP, 1984. 67-81. Frye, Northrop. Anatomy of Criticism: Four Essays. Princeton, N.J.: Princeton UP, 2000. Fuchs, Elinor. “Strindberg’s ‘Our Contemporary’: Constructing and Deconstructing To Damascus I. ” Strindberg’s Dramaturgy. Ed. Göran Stockenström. Minneapolis: U of Minnesota P, 1988. 75-86. Gillespie, Diane F. “Strindberg’s To Damascus: Archetypal Autobiography.” Modernism in European Drama: Ibsen, Strindberg, Pirandello, Beckette. Eds. Frederick J. Marker and Christopher Innes. Toronto: U of Toronto P, 1998. 110-26. Jacobs, Barry. “Titanism and Satanism in To Damascus (I).” Strindberg’s Dramaturgy. Ed. Göran Stockenström. Minneapolis: U of Minnesota P, 1988. 182-204. Johannesson, Eric O. The Novels of August Strindberg: A Study in Theme and Structure. Berkeley: U of California P, 1968. Johnson, Walter. Introduction to Advent. Dramas of Testimony. By August Strindberg. Trans. Walter Johnson. Seattle: U of Washington P, 1975. 123-29. ---. Introduction to The Dance of Death I & II. Dramas of Testimony. By August Strindberg. Trans. Walter Johnson. Seattle: U of Washington P, 1975. 3-12. ---. “Notes on To Damascus I.” Plays of Confession and Therapy. By August Strindberg. Trans. Walter Johnson. Seattle and London: U of Washington P, 1979. 90-94. ---. “Strindberg and the Danse Macabre.” Strindberg: A Collection of Critical Essays. Ed. Otto Reinert. Englewood Cliffs, N.J.: Prentice-Hall, 1971. 117-24. Kierkegaard, Søren. Fear and Trembling; Repetition. Ed. and trans. Howard V. Hong and Edna H. Hong. N.J.: Princeton UP, 1982. Lagercrantz, Olof. August Strindberg. Trans. Anselm Hollo. New York : Farrar, 1984. Meyer, Michael. Strindberg. New York: Random, 1985. Ollén, Gunnar. August Strindberg. Trans. Peter Tirner. New York: Ungar, 1972. Robinson, Michael. Strindberg and Autobiography: Writing and Reading a Life. Norwich: Norvik, 1986. ---. Studies in Strindberg. Norwich: Norvik, 1998. Rokem, Freddie. “The Representation of Death in Strindberg’s Chamber Plays.” Strindberg and Genre. Ed. Michael Robinson. Norwich: Norvik, 1991. 119-36. Rothwell, Brian. “The Chamber Plays.” Strindberg: A Collection of Critical Essays. Ed. Otto Reinert. Englewood Cliffs, N.J.: Prentice-Hall, 1971. 152-63. Sandbach, Mary. Introduction. The Inferno and from an Occult Diary. By August Strindberg. Harmondsworth, Eng.: Penguin, 1979. 7-90. Scanlan, David. “The Road To Damascus Part One: A Skeptic’s Everyman.” Modern Drama 5.4 (1962): 344-51. Sengoopta, Chandak. Otto Weininger: Sex, Science, and Self in Imperial Vienna. Chicago: U of Chicago P, 2000. Sprinchorn, Evert. Strindberg As Dramatist. New Haven: Yale UP, 1982. ---. Introduction. The Chamber Plays. By August Strindberg. Minneapolis: U of Minnesota P, 1962. vii-xliv. ---. Introduction. The Son of a Servant. By August Strindberg. Trans. Evert Sprinchorn. New York: Anchor, 1966. viii-xxi. Stockenström, Göran. ”Strindberg’s Cosmos in A Dream Play: Medieval or Modern.” Comparative Drama 30 (1996): 72-105. ---. “The Symbiosis of ‘Spirits’ in Inferno: Strindberg and Swedenborg.” Ed. Marilyn J. Blackwell. Trans. Matthew Dion. Structure of Influence: A Comparative Approach to August Strindberg. N.C.: U of North Carolina P, 1981. 3-37. Strindberg, August. A Dream Play. Selected Plays. Trans. Evert Sprinchorn. Minneapolis: U of Minnesota P, 1986. 649-732. ---. “A Dream Play: A Note from the Author.” Selected Plays. Trans. Evert Sprinchorn. Minneapolis: U of Minnesota P, 1986. 646-47. ---. Advent. Dramas of Testimony. Trans. Walter Johnson. Seattle and London: U of Washington P, 1975. 131-89. ---. The Dance of Death I. Dramas of Testimony. Trans. Walter Johnson. Seattle: U of Washington P, 1975. 13-74. ---. The Dance of Death II. Dramas of Testimony. Trans. Walter Johnson. Seattle: U of Washington P, 1975. 77-121. ---. Easter. Dramas of Testimony. Trans. Walter Johnson. Seattle: U of Washington P, 1975. 202-51. ---. Open Letters to the Intimate Theater. Trans. Walter Johnson. Seattle: U of Washington P, 1967. ---. Storm Weather. The Chamber Plays. Trans. Evert Sprinchorn, Seabury Quin, Jr., Kenneth Petersen. Minneapolis: U of Minneapolis P, 1962. 1-50. ---. Strindberg’s Letters. Ed. & Trans. Michael Robinson. 2 vols. Chicago: U of Chicago P, 1992. ---. The Black Glove. The Strindberg Reader; A Selection of Writings of August Strindberg. Ed. Arvid Paulson. New York: Phaedra, 1968. 332-370. ---. The Burned House. The Chamber Plays. Trans. Evert Sprinchorn, Seabury Quin, Jr., Kenneth Petersen. Minneapolis: U of Minneapolis P, 1962. 51-101. ---. The Ghost Sonata. The Chamber Plays. Trans. Evert Sprinchorn, Seabury Quin, Jr., Kenneth Petersen. Minneapolis: U of Minneapolis P, 1962. 103-152. ---. The Great Highway. Apologia and Two Folk Plays. Trans. Walter Johnson. Seattle: U of Washington P, 1981. 13-73. ---. The Inferno and From an Occult Diary. Trans. Mary Sandbach. Harmondsworth, Eng.: Penguin, 1979. ---. The Pelican. The Chamber Plays. Trans. Evert Sprinchorn, Seabury Quin, Jr., Kenneth Petersen. Minneapolis: U of Minneapolis P, 1962. 153-201. ---. There are Crimes and Crimes. Dramas of Testimony. Trans. Walter Johnson. Seattle: U of Washington P, 1975, 265-328. ---. To Damascus I. Plays of Confession and Therapy. Trans. Walter Johnson. Seattle and London: U of Washington P, 1979. 19-89. ---. To Damascus II. Plays of Confession and Therapy. Trans. Walter Johnson. Seattle and London: U of Washington P, 1979. 101-54. ---. To Damascus III. Plays of Confession and Therapy. Trans. Walter Johnson. Seattle and London: U of Washington P, 1979. 165-237. Törnqvist, Egil. “Strindberg and Subjective Drama.” Strindberg and Genre. Ed. Michael Robinson. Norwich: Norvik, 1991. 97-107. Waal, Carla. Harriet Bosse: Strindberg’s Muse and Interpreter. Carbondale: Southern Illinois UP, 1990. Ward, John. The Social and Religious Plays of Strindberg. London: Athlone, 1980. Woodhead, Linda. An Introduction to Christianity. Cambridge: Cambridge UP, 2004. (二)中文部份 王怡瑜。《史特林堡「夢幻劇」中夢的技巧之研究》。國立台灣大學戲劇學研究所碩士論文,1998。 朱侃如 譯。 《千面英雄》。喬瑟夫.坎伯(Joseph Campbell)原著。北縣:立緒文化出版社,2005。 車文博 編。《弗洛伊德文集》,第四卷。弗洛伊德(Sigmund Freud)原著。長春市:長春出版社,2004。 李之義 譯。《史特林堡文集》,第五卷。 史特林堡(August Strindberg)原著。 北京:人民文學出版社,2005。 林國源 譯。《夢幻劇》。史特林堡原著。台北:志文出版社,1980。 胡志毅。《神話與儀式:戲劇的原型闡釋》。上海:學林出版社,2001。 張旭東、魏文生 譯。《發達資本主義時代的抒情詩人:論波特萊爾》。班雅明(Walter Benjamin)原著。台北:城邦文化,2003。 梁實秋 譯。《暴風雨》。莎士比亞(William Shakespeare)原著。台北:遠東圖書文化有限公司,1989。 程金城。《原型批判與重釋》,北京:東方出版社,1998。 楊儒賓 譯。《宇宙與歷史:永恆回歸的神話》。耶律亞德(Mircea Eliade)原著。台北:聯經出版社,2000。 廖玉儀 譯。《天堂與地獄》。 伯恩哈特.朗恩(Bernhard Lang)原著。台中:晨星出版社,2006。 葉舒憲。《探索非理性的世界——原型批評的理論與方法》,四川:四川人民出版社,1988。 賴聲川。〈破碎的神話、殘缺的意念——史特林堡「夢劇」中的東方世界〉。《中外文學》13:6,台北:台大外文系,1984。4-44。 龔卓君 譯。《人及其象徵》。榮格(Carl G. Jung)原著。台北:立緒文化出版社,2005。 (三)網路資料 Standford Encyclopedia of Philosophy. Ed. Edward N. Zalta. 2006. The Metaphysics Research Lab, CSLI, Standford U. 28 Jan. 2007 <http://plato.stanford.edu/entries/pythagoras/> 二、參考書目 (一)英文部份 Brustein, Robert. Theatre of Revolt. London: Methuen, 1965. Clark, James M. The Dance of Death in the Middle Ages and the Renaissance. Glasgow: Jackson, 1950. Cole, Toby ed. Playwrights on Playwriting: The Meaning and Making of Modern Drama from Ibsen to Ionesco. New York: Hill, 1961. Jaspers, Karl. Strindberg and Van Gogh: An Attempt of a Pathographic Analysis with Reference to Parallel Cases of Swedenborg and Holderlin. Trans. Oskar Grunow and David Woloshin. Tucson, Ariz.:U of Arizona P, 1977. Madsen, Børge G. Strindberg’s Naturalistic Theatre: Its Relation to French Naturalism. Seattle: U of Washington P, 1962. Mooney, Edward F. “Repetition: Getting the World Back.” The Cambridge Companion to Kierkegaard. Eds. Alastair Hannay and Gordon D. Marino. Cambridge: Cambridge UP, 1998. 282-307. Potter, Robert A. The English Morality Play: Origins, History, and Influence of a Dramatic Tradition. Boston : Routledge & K. Paul, 1975. Sprinchorn, Evert. “The Logic of A Dream Play.” Ed. Otto Reinert. Strindberg: A Collection of Critical Essays. N.J.: Prentice-Hall, 1971. 137-51. Steene, Birgitta. “Metaphysical Drama.” August Strindberg: An Introduction to His Major Works. Atlantic Highlands N.J. : Humanities, 1982. 80-121 Strindberg, August. Pre-Inferno Plays. Trans. Walter Johnson. New York: Norton, 1976. ---. Selected Essays by August Strindberg. Ed. & Trans. Michael Robinson. Cambridge: Cambridge UP, 1996. Styan, J.L. Expressionism and Epic Theatre. Cambridge: Cambridge UP, 1981. Vol. 3 of Modern Drama in Theory and Practice. 3 vols. 1981. Warme, Lars G., ed. A History of Swedish Literature. Lincoln : U of Nebraska P, 1996. (二)中文部份 王雅茵、易之新 譯。《瘋狂天才》。凱.傑米森(Kay Redfield Jamison)原著。台北:心靈工坊,2002。 朱侃如 譯。《神話》。 喬瑟夫.坎伯原著。北縣:立緒文化出版社,2005。 吳村山 譯。《輪迴與轉生》。石上玄一郎原著。台北:東大圖書,1997。 宋碧雲 譯。《希臘羅馬神話故事》。愛笛絲.赫米爾敦(Edith Hamilton)原著。台北:志文出版社,1998。 施春華。《心靈本體的探索:神祕的原型》。哈爾濱:黑龍江人民出版社,2002。 陳永國 譯。《德國悲劇的起源》。班雅明(Walter Benjamin)原著。北京:文化藝 術出版社,2001。 陳玲玲 翻譯、著述。《夢幻劇:生命之旅�史特林堡原著劇本》。史特林堡原著。台北:商務印書館,1998。` 劉大悲 譯。《意志與表象的世界》。叔本華(Arthur Schopenhauer)原著。台北:志文出版社,2005。 劉國彬、楊德友 譯。《榮格自傳——回憶、夢、省思》。榮格原著。台北:張老師文化,1997。 蔡美珠。《齊克果存在槪念》。台北:水牛出版社,1986。 薛 絢 譯。《夢:私我的神話》。安東尼.史蒂芬斯(Anthony Stevens)原著。北縣:立緒文化出版社,2000。 顧乃春。《現代戲劇論集》。台北:柏室科技藝術,2005。 | |
dc.identifier.uri | http://tdr.lib.ntu.edu.tw/jspui/handle/123456789/30961 | - |
dc.description.abstract | 史特林堡歷經地獄危機後,劇作重心大不同於早期劇作強調社會環境與人的衝突、或腦力較勁等主題,後地獄劇作開始朝人的內心探索,更重要的是它們普遍瀰漫了夢境氛圍。後地獄劇作的夢境元素並非如《夢幻劇》直接把夢境搬上舞台,而是劇中世界呈現了如夢的現實狀態。其中不合邏輯的時空存在感、突轉迅速的的情節和隱喻性角色,構成了劇作的夢境特徵。
後地獄劇作具有榮格學派所強調的擬古基調,劇中古典神話和中世紀意象也和榮格說原型的文化基底有關,但夢劇畢竟屬於文學作品,所以弗來文學式的原型批評將更利於討論。以弗來原型說的角度來看,後地獄劇作在角色和主題上都有不同層次的原型運作模式。角色常具有複調特色,他們受困在罪惡的宿命中,而神冷眼旁觀角色的苦難,未曾伸出援手。此外,代表惡勢力的靈怪角色不停攪擾人類,左右他們的行動,幾乎取代了神的位置。主角雖因此受苦連連,但也無法藉由死亡得到解脫,因為死亡在劇中早已存在,且是一直持續的狀態。 雖然後地獄劇作的角色都無法得到救贖,史特林堡卻能透過書寫自我而獲得救贖。從大部分作品中強烈的自傳色彩,可看出他創作的對象幾乎離不開他自己。後地獄劇作中對女性的矛盾情結、對社會的不滿情緒、以及一切虛幻如夢的終極真理,正是史特林堡藉由原型來表現自我面貌的痕跡。史特林堡以自我為題材進行創作時,他自我檢視、自我神化、並扮演自我,由此找到自身苦難的解釋,來自我安慰。因此,原型成為劇作家服務自我的工具,史特林堡透過原型的置換變形,將自傳性延伸為傳奇性,又藉由認同原型人物,他釋放了自身的罪惡感,也體驗原型人物重複不斷的新生命。結合原型和自我的寫作策略便是史特林堡自我救贖的途徑。此外,透過書寫夢劇,史特林堡一方面因從夢劇中清醒而感受釋放,一方面悟出萬物虛空而獲得精神解脫。齊克果的重複概念也讓史特林堡得到心態的更新,他不斷書寫自傳性作品,就是不斷覺察生命狀態已經不同的過程,自我因此得到了淨化。 | zh_TW |
dc.description.abstract | After the Inferno crisis, the subject of Strindberg’s post-Inferno plays greatly differs from that of his earlier plays. It no longer emphasizes the conflict between men and their social environment or “battle of brains”, but begins to explore the inner world of human beings in an all-pervading atmosphere of dreams. Unlike A Dream Play that puts the dream directly on the stage, the element of dreams in most post-Inferno plays is presented with the design of a dream-like reality through an illogical sense of time and space, sudden changes in the plot, and metaphorical characters.
The mythological and medieval images in post-Inferno plays are reminiscent of the Jungian archaic mood and Jung’s archetypal search in cultural foundation, yet it is more effective to use Northorp Frye’s literary criticism of archetype when it comes to literary works as dream plays. With Frye’s definition of archetype, there are different modes of archetype manipulated in post-Inferno plays, in particular the characters and theme. Each character often contains polyphonic images. The characters get trapped in the fate of sins, with God giving no hands on the sidelines and watching coldly at their sufferings. Moreover, the spirit characters from the evil power keep disturbing people and control their actions, so much so that the evil ones nearly replace the authority of God. After being tormented time after time, the main characters can still not be released through death, since death has already existed and perpetuated throughout the play, and is a state that keens to continue. The characters in post-Inferno plays can not obtain any chance of salvation; however, Strindberg saves himself by writing the stories about himself. Most of his works are nothing but autobiographical, and the theme and characters are often about himself. We see in his post-Inferno plays the contradictory complex toward women, the disagreement toward the society, and how illusion serves as the ultimate truth in the plays, all of which point to the philosophy and world view of the playwright. By writing about himself, Strindberg surveys himself, aggrandizes himself, and finally through creating the roles acts out the different dimensions of himself. This enables him to interpret his own sufferings and thus gains consolation. The archetypes serve as tools for Strindberg to express himself. Strindberg uses the displacement and transformation of the archetypes to enlarge and extend the autobiography into legend in his works; he identifies himself with the archetypal personages in order to release his own guilt, and also experience the repetitive new lives in them. By combining archetypes with his own life events as a strategy for writing, Strindberg finds the way to self-redemption. Furthermore, writing dream plays create relaxing moments as he awakens from the crafted dreams and gains pleasure in realizing the reality is nothing but like illusionary dreams. Kierkegaard’s idea of repetition also refreshes Strindberg’s mind. As he repeats writing autobiographical works, he repeats seeing himself as different from what he used to be. It is in this way that he reaches catharsis through his play writing. | en |
dc.description.provenance | Made available in DSpace on 2021-06-13T02:22:53Z (GMT). No. of bitstreams: 1 ntu-96-R90129006-1.pdf: 834581 bytes, checksum: e31694eb5d64cdb31aa63dde3cb0fbf7 (MD5) Previous issue date: 2007 | en |
dc.description.tableofcontents | 目 錄
口試委員會審定書……………………………………………………… i 誌謝………………………………………………………………………ii 中文摘要……………………………………………………………… iii 英文摘要…………………………………………………………………iv 第一章 緒論………………………………………………………… 1 第一節 後地獄劇作創作背景………………………………… 2 一、地獄危機……………………………………………… 2 二、象徵主義與瑞典新浪漫主義………………………… 6 第二節 研究史特林堡的新方向……………………………… 8 一、 擬古的夢:原型…………………………………… 8 二、一貫的自傳性:自我………………………………… 9 第三節 文獻回顧及研究方法………………………………… 10 一、文獻回顧……………………………………………… 10 二、研究範圍和論文架構………………………………… 11 第二章 後地獄劇作的原型……………………………………… 14 第一節 夢與原型……………………………………………… 14 一、如夢的現實…………………………………………… 14 (一)時空不合邏輯…………………………………… 17 (二)突轉的情節……………………………………… 19 (三)隱喻性的角色…………………………………… 20 二、夢劇中的原型………………………………………… 21 第二節 後地獄劇作的原型詩學……………………………… 23 一、複調的角色…………………………………………… 23 (一)流浪者原型……………………………………… 24 (二)亞當與多變的夏娃……………………………… 26 (三)靈怪原型………………………………………… 27 二、傳統主題的突破……………………………………… 29 (一)罪惡的宿命……………………………………… 29 (二)對神的質疑……………………………………… 33 1. 神存在但缺席………………………………… 33 2. 魔亦是神……………………………………… 35 (三)死亡——終點與起點…………………………… 37 小結………………………………………………………………… 42 第三章 劇作家自我………………………………………………… 43 第一節 書寫自我:女性、社會、宗教……………………… 44 一、對女性的矛盾意識…………………………………… 44 二、未遁世的流浪者……………………………………… 48 三、虛幻夢境的個人信仰………………………………… 50 第二節 創作自我……………………………………………… 55 一、自我檢視……………………………………………… 56 (一)釋放罪惡感……………………………………… 56 (二)自我客體化……………………………………… 58 二、自我神化……………………………………………… 59 (一)神話與英雄人物………………………………… 59 (二)強者形象………………………………………… 61 三、扮演自我……………………………………………… 63 第三節 寫作為救贖…………………………………………… 66 一、從夢劇中清醒………………………………………… 67 二、重複為新生…………………………………………… 68 小結………………………………………………………………… 70 第四章 結論………………………………………………………… 71 第一節 面對罪惡的夢遊者…………………………………… 71 第二節 原型與自我的交互循環和扮演……………………… 74 參考文獻……………………………………………………………… 77 附錄:史特林堡作品年表…………………………………………… 84 | |
dc.language.iso | zh-TW | |
dc.title | 史特林堡後地獄劇作的原型與自我 | zh_TW |
dc.title | Archetype and Selfhood in Strindberg's Post-Inferno Plays | en |
dc.type | Thesis | |
dc.date.schoolyear | 95-1 | |
dc.description.degree | 碩士 | |
dc.contributor.oralexamcommittee | 姜翠芬,王慧娟 | |
dc.subject.keyword | 史特林堡,後地獄劇作,原型,自傳性,自我放大,自我救贖,夢劇, | zh_TW |
dc.subject.keyword | August Strindberg,post-Inferno plays,archetype,autobiography,self-aggrandizement,self-redemption,dream plays, | en |
dc.relation.page | 87 | |
dc.rights.note | 有償授權 | |
dc.date.accepted | 2007-01-30 | |
dc.contributor.author-college | 文學院 | zh_TW |
dc.contributor.author-dept | 戲劇學研究所 | zh_TW |
顯示於系所單位: | 戲劇學系 |
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